American playwright and theatre director
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3 episodes with Steven Dietz
2 episodes with Steven Dietz
2 episodes with Steven Dietz
2 episodes with Steven Dietz
2 episodes with Steven Dietz
3 episodes with Steven Dietz
2 episodes with Steven Dietz
2 episodes with Steven Dietz
Send us a textHappy New Year! It's amazing how things come full circle. After having Steven Dietz' wife, Allison Gregory, on last episode, we were privileged enough to have Laura Annawyn Shamas on Playwright's Spotlight, who happened to work them both in Minneapolis at The Playwright's Center. In this episode, Laura and I discuss a playwright's involvement in a piece, tech and costume "covers" (a term I just learned), "fourth" grade playwriting, inspirations, what makes a great director, and structure and staging. We also delve into approaching character and the symbology of names, virtual theatre vs live performance, surprising and caring about the audience, archetypes and character flaws, playing with structure, and developing and trusting a community of playwrights.As always, it's an insightful episode that Laura shares her history and experience in the craft of playwriting. It's a wonderful conversation to motivate and inspire playwrights of every level to get to work. I hope you enjoy this episode of Playwright's Spotlight and, as always... keep writing.Laura Annawyn Shamas (Playwright) is a 2023 winner of the Los Angeles New Play Project Award. Shamas has written over 40 plays, including Circular (published in 2024 by Next Stage Press), Portrait of a Nude, Lady-Like, Chasing Honey, The Other Shakespeare, Talking Leaves (winner, Garrard Best Play Award at Five Civilized Tribes Museum), and Amelia Lives (winner, Fringe First Award at Edinburgh Festival Fringe). Her short play, Seeds, won the Von Marie Atchley Award for Excellence in Playwriting from Native Voices. She worked as a dramaturge for Native Voices at the Autry for their Short Play Festivals from 2021-2023 and Festival of New Plays (2024). She graduated from UCLA with a B.A. in Theatre, the University of Colorado at Boulder with an M.A. in English/Creative Writing, and Pacifica Graduate Institute with an M.A. and Ph.D. in Mythological Studies. She is also on the American Theatre “List of Native Theatres and Theatremakers.” Her newest play Four Women in Red opens January 17th through February 23rd at the Victory Theatre Center in Burbank, CA.To watch the video format of this episode, visit -https://youtu.be/Uiu91mKKG74Links to resources mentioned in this episode -La MaMa New York -https://www.lamama.orgTransformation Theatre -https://www.transformationtheatre.orgRepro Eco Project -https://reprofreedomarts.org/performances/works-in-progress/Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.html Support the show
Send us a textThis week I had the pleasure of having a fascinating conversation with Allison Gregory on this recent episode of Playwright's Spotlight and her approach of writing about historical and mythological characters and exploring outside their known stories. We delved into the philosophy of "when we are", letting the story find us, the power of the #2 pencil and writing longhand, stealing from the best, obtaining the rights to other's works and public domain. We also discuss commissioning adaptations, tried and true material, embracing constructs, and knowing the audience of children's theatre. It's a wonderful chat I hope everyone feels motivated and inspired by. Enjoy!Allison Gregory's work has been produced nationally and internationally for multigenerational audiences by a fusion of professional theaters, academic stages, and nontraditional spaces. She has received commissions and development from the Oregon Shakespeare Festival, the Kennedy Center, South Coast Repertory, Indiana Repertory Theatre, the Playwrights' Center, the Skirball Foundation, Geva Theatre, Seattle Rep, ACT Theater, Orlando Shakes, the National New Play Network (NNPN), Hedgebrook, the New Harmony Project, and Banff Playwrights Lab. Her plays range from satires centering on underrepresented historical figures to contemporary interpretations of mythology, intimate dramas, and exuberant, innovative theatre for young people. Her plays are published by Dramatic Publishing, Playscripts, Concord Theatricals, Smith & Krauss, and Rain City Press and include – Not Medea, Junie B. Jones is Not a Crook, and Judy Moody & Stink: The Mad, Mad, Mad Treasure Hunt.To watch the video format of this episode, visit -https://youtu.be/B9pW5OH7L14Links to resources mentioned in this episode -Child's Play -https://www.childsplayaz.orgSeattle's Children's Theare -www.sct.orgWebsite and Socials for Allison Gregory - Website-www.allisongregoryplays.comFacebook-https://www.facebook.com/allison.gregory.71Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show
Talked with Rudina Toro, Chief Financial and Operating Officer, Palm Beach Dramaworks. They are celebrating their 25th Season. This year's line up of shows includes: Lost in Yonkers, The Dresser, The Humans, Camping with Henry and Tom and Dangerous Instruments. Listeners can buy tickets for individual shows or package of 5 or 4. Patrons can also purchase tickets for Dramawise which is a behind the scenes program that happens the day before opening night. Then January 17-19, 2025 they have the Perlberg Festival of New Plays which is one of the ways they encourage new talent. The line up plays for the festival includes: Vineland Place by Steven Dietz, Class C by Chaz T. Martin, The Mallard by Vincent Delaney, Two by Chelsea Marcantel, and Alba by Alejando Rodriguez. PB Dramaworks also does One Humanity Tour where they bring plays to students in school addressing issues the students face. In addition they have a Young Playwrights Contest for students. For more info, buy tickets, become a volunteer or make a donation, listeners can go to www.palmbeachdramaworks.org.
Let's hike in the mountains and smoke a bunch cause we are going to COLORADO! That's right, Erika breaks down all of the coolest playwrights and theatres based, from, or working in Colorado and there are some shocking names! Learn about one of the coolest New Play festivals in the country and find out what playwright is refered to as "A Denver Boy at Heart". Enjoy the epsiode!SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's plays, Community Garden and Cabin Chronicles, through his publisher, Playscripts. Finally, you can check out Justin's YouTube channel for more longform theatre content! For any more information, check out Justin's website and Erika's website for more cool stuff!Some Links from Colorado:Phamaly TheatreCreede Repertory TheatreTheatre AspenThe Colorado New Play SummitSteven Dietz"A Denver Boy at Heart"Sandy RustinThe Suffragette's Murder at DPACIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!
Torsten and Sabrina watch Meg Ryan and David Duchovny get stuck in an airport during a bomb cyclone. Wait—is that a thing? They talk about a few things you may want to check out: – Meg Ryan's dedication of the film to Nora Ephron: https://www.yahoo.com/entertainment/meg-ryan-acting-hiatus-what-happens-later-rom-com-nora-ephron-160655136.html? – Steven Dietz's play “Shooting Star,” on which the movie is based: https://books.google.com/books/about/Shooting_Star.html?id=yJ_pPUsv4AcC&redir_esc=y Welcome to “In Front of Ira,” the podcast in which historians, friends, and lovers… of rom-coms Sabrina Mittermeier and Torsten Kathke discuss how the romantic comedy genre has evolved, what it can tell us about society, and whether this movie is worth watching. Find us @infrontofira on social media and drop us a line at infrontofirapod@gmail.com Our music is “Night in Venice” by Kevin MacLeod.
Donna Hoke sat in the Playwright's Spotlight to discuss her journey into playwriting. In this interview we touch on her involvement in the Official Playwrights of Facebook, her start as playwright from a journalism background and learning on the fly, working in a smaller market and "owning your home town" as well as building relationships and putting in the time. We also talk about being commissioned, finding that "flow," finding opportunities, playwriting struggles, the use of character backstories, using exercises as standalone pieces, the structure and trends of ten-minute plays, and what constitutes success. Again, Donna offers such great insight and resources, I think you'll find yourself with a plethora of information. Cheers.Donna Hoke's work has been seen in 48 states and on five continents. She has been nominated for the Primus, Blackburn, and Laura Pels prizes, and is a three-time winner of the Emanuel Fried Award for Outstanding New Play for SEEDS, SONS & LOVERS, and ONCE IN MY LIFETIME. She has also twice received Individual Artist Awards from the New York State Council on the Arts to develop HEARTS OF STONE and CANALSIDE. She has been serving the Dramatists Guild in various capacities since 2012, is an ensemble playwright at Road Less Traveled Productions, and is former moderator of the 13,500+-member Official Playwrights of Facebook Other plays include - BRILLIANT WORKS OF ART, ELEVATOR GIRL, SAFE, and TEACH.To view the video format of this episode, visit -https://youtu.be/fnbkyVL4SecLinks mentioned in this episode -The Official Playwrights of Facebook -https://www.facebook.com/groups/2351514659New Play Exchange -https://newplayexchange.org/World Less Traveled Productions -https://www.roadlesstraveledproductions.orgPlaywrights' Center -https://pwcenter.orgPlay Submission Helper - https://playsubmissionshelper.comNational New Play Network - https://nnpn.orgThe Dramatic Writer's Companion -https://www.amazon.com/Dramatic-Writers-Companion-Characters-Publishing/dp/0226172546Dramatists Guild -https://www.dramatistsguild.comSeven Devils -https://www.sevendevils.orgTrade-A-Play Tuesday -https://blog.donnahoke.com/trade-a-play-tuesday/Playwright's Binge -https://groups.io/g/playwrightbingeYouthPLAYS -https://www.youthplays.com/Broadway Licensing - https://broadwaylicensing.comPlaywright's Spotlight with Steven Dietz -https://youtu.be/CnS8-gegiUcWebsites and socials for Donna Hoke -Website - www.donnahoke.comIG - @dhokeplaysTwitter/X - @donnahokeSnap - @hokeplaysWebsites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through LACPF -www.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show
In this two-part season finale, Tori and Mabelle talk with the extraordinary Steven Dietz about his 40+ years in the theater. He shares how his 11 years of directing workshops and readings of new plays served as his grad school, teaching him how the theater works in space. He shares tactics and tools of the craft, including his idea of plays as alive (The Living Play), the importance of inviting scrutiny, why inspiration is a con, how victories can be complicated, and his strategies for talkbacks.
In this two-part season finale, Tori and Mabelle talk with the extraordinary Steven Dietz about his 40+ years in the theater. He shares how his 11 years of directing workshops and readings of new plays served as his grad school, teaching him how the theater works in space. He shares tactics and tools of the craft, including his idea of plays as alive (The Living Play), the importance of inviting scrutiny, why inspiration is a con, how victories can be complicated, and his strategies for talkbacks.
Dear, dear dawgos! It's D! Today, Justin and Erika read some of their favorite "D" playwrights! Justin cross-referncing Marvel, The Walking Dead, and a brilliant playwright, Erika makes the deepest of dives on Mr. Dietz, and the two of them goof hard for upwards of an hour! CLASSIC PLAY TO Z. Enjoy, our Darlings!SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's play, Community Garden, through his publisher, Playscripts. Finally, you can check out Justin's YouTube channel for more longform theatre content!Links to our playwrights:Steven Dietz's DramatistSteven Dietz's ConcordDanai Gurira's DramatistDanai Gurira's ConcordIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!
Josh Liveright is a writer, director, and producer. In 1991 he co-founded Zena Group, a not-for-profit theater and film collective based in New York City. As Zena Group's artistic director Josh produced New York premieres of plays by Mark O'Donnell, Jose Rivera, Neena Beber, Steven Dietz, among many others. As a filmmaker, Josh has produced several short films including Let Go, nominated for best short at the 1997 Hamptons International Film Festival and the US Comedy Arts Film Festival, American Falls, Matt Higgins: The Improvisor, and the three “What if?” Shorts. In addition to his own work, he curates performing arts space at Buunni Coffee in Inwood.
Passionate and Inspirational, Steven Dietz visits Playwright's Spotlight to discuss the musicality of dialogue, kairos moments throughout a play, and what he calls The Living Play, in which he unpacks his technique of using motion, status, and time opposed to action and conflict. We also discuss taboo topics, writing out of uncertainty, overlapping dialogue, intricacy and layers, the mythology of playwriting as well as his time at Playwrights' Center and working with some of the greats. Probably one of the most educational discussions of the craft I've had so far. I hope you enjoy it.Steven Diezt's thirty-plus plays and adaptations have been seen at over one hundred regional theaters, as well as Off-Broadway and has International productions in over twenty countries. In 2019, he was once again named one of the 20 Most-Produced Playwrights in America by American Theatre Magazine. He was awarded the American Theatre Critics Association's Steinberg New Play Citation for his play Bloomsday; the Kennedy Center Fund for New American Plays Award for both –Fiction and Still Life with Iris; the PEN USA Award in Drama for Lonely Planet; and the Edgar Award from the Mystery Writers of America for Sherlock Homes: The Final Adventure. Other plays include Becky's New Car, This Random World, Last of the Boys, Rancho Mirage, Shooting Star, Yankee Tavern, Inventing van Gogh, Private Eyes, Rocket Man, God's Country, and The Nina Variations. He taught in the MFA Playwriting and Directing program at UT/Austin for twelve years and currently serves as a Dramatists Guild "Traveling Master"—teaching workshops in playwriting, story-making, and collaboration across the U.S.To view the video format of this episode, visit the link below -https://youtu.be/CnS8-gegiUcLinks to sites and resources mentioned in this episode - Playwrights' Center -https://pwcenter.orgBroadway Licensing/Dramatists Play Services -https://www.dramatists.comConcord Publishing/Samuel French -https://www.concordtheatricals.comNational New Play Network -https://nnpn.orgWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show
Steven Dietz Playwright FICTION 10 7 22- 10 23 22
Sizzling Samachar of the day - 4th May 2022Welcome to OTTplay Sizzling Samachar of the day, I'm your host NikhilNews first up,Meg Ryan to star in and direct What Happens LaterHollywood star Meg Ryan, who made her directorial debut with the 2015 movie Ithaca, is set to direct and star in the romantic comedy What Happens Later. Based on the play Shooting Star by Steven Dietz, the film also features The X-Files actor David Duchovny. The film revolves around two ex-lovers who are reunited decades after their split. What Happens Later is expected to be released next year.Viola Davis may return as Amanda Waller in Peacemaker spinoffAcclaimed actress Viola Davis may return as Amanda Waller in the spinoff to DC's hit superhero series Peacemaker. The potential series will be centered on Davis' character, the uncompromising head of ARGUS. Davis would also serve as the executive producer of the show, which is written by Christal Henry. Justin Lin exits Fast XDirector Justin Lin has departed from Fast X reportedly following disagreements with the lead actor and producer Vin Diesel. Lin has helmed all Fast & Furious movies from The Fast and the Furious: Tokyo Drift to Fast & Furious 6. As per reports, The Incredible Hulk director Louis Leterrier will take over the reins of the project.Chris Bohjalian's novel to be adapted into TV seriesChris Bohjalian's upcoming novel The Lioness is set to be adapted into a TV series. The series will be produced by Sherry March. The story revolves around an actress and her husband whose honeymoon takes a dark turn. Bohjalian's earlier book The Flight Attendant has also been adapted into a series starring The Big Bang Theory fame Kaley Cuoco.Liz Feldman's new show is a dark comedyLiz Feldman, the creator of the hit series Dead to Me, is set to return with another dark comedy on Netflix titled No Good Deed. The series follows three families vying to buy the same villa. Meanwhile, the third and final season of Dead To Me will premiere later this year.Cobra Kai's creators team up with NetflixThe creators of Cobra Kai, the spinoff to the Karate Kid trilogy from the 80s, have teamed up with Netflix for an action-comedy series titled Obliterated. Josh Heald, Jon Hurwitz, and Hayden Schlossberg will also executive produce the eight-episode series. Well, that's the OTTplay Sizzling Samachar from the world of movies and entertainment for today, until the next episode its your host Nikhil signing out.Aaj kya dekhoge OTTplay se poochoWritten By Arya Harikumar
Steven Dietz of United Dwelling dives into the housing affordability crisis, what solutions can be put in place to combat the issue, and the three pillars to building new, low-cost homes. Recorded at the Upfront Summit on March 2, 2022.
SW-031 March 2022 Show Notes **Please check all theatre websites for their current COVID protocols. Many theatres continue to require proof of vaccination and masks** BlackHorse Village Players, Caledon http://www.blackhorsetheatre.ca Tickets for Five Alarm by Karen DaSilva April 27-May 15 https://thelittleboxoffice.com/blackhorsetheatre/ Box Office 905-880-5002 Kempenfelt Community Players, Barrie https://kempenfeltplayers.com Call for Director, Music Director and Producer for Elf Jr. Expressions of interest to kcpcommunication@gmail.com The South Simcoe Theatre, Cookstown https://www.thesouthsimcoetheatre.com Call for Directors for Four Play - Deadline March 27th More information https://www.thesouthsimcoetheatre.com/four-play Expressions of interest to FourPlay@TheSouthSimcoeTheatre.com The Curtain Club, Richmond Hill https://thecurtainclub.org Tempting Providence by Robert Chafe, April 7th-23rd Box Office at 905-773-3434 https://thecurtainclub.org/tempting-providence-by-robert-chafe/ I Love You, You're Perfect, Now Change book and lyrics by Joe DiPietro and music by Jimmy Roberts - June 10th - 25th Theatre Aurora https://www.theatreaurora.com Lonely Planet by Steven Dietz from May 5-8 and 12-14 No Exit by Jean-Paul Sartre from June 2-11. Tickets: https://app.arts-people.com/index.php?ticketing=thtau Auditions for Inez in No Exit - expressions of interest to productions@theatreaurora.com Mariposa Arts Theatre, Orillia https://www.mariposaartstheatre.com Steel Magnolias April 21st-30th at the Orillia Opera House. https://secure1.tixhub.com/orillia-oh/online/b_otix.asp?cboPerformances=3345&cboEvent=1090 Caledon Town Hall Players https://www.caledontownhallplayers.com Kiss The Moon, Kiss the Sun, A Dramedy by Norm Foster March 25-April 2 Tickets: https://www.caledontownhallplayers.com. Dragonfly Theatre Company, Bracebridge http://www.dragonflytheatre.ca Neil Simon's California Suite June 1-11 Dinner theatre info and tickets available from their website shortly. Talk is Free Theatre, Barrie https://www.tift.ca A Grimm Night, an immersive dance creation by TranscenDance Project at The Great Hall on 1087 Queen St. West in Toronto (April 14-17) Tickets: https://tickets.tift.ca/TheatreManager/1/online?event=0 Theatre by the Bay, Barrie https://theatrebythebay.com Professional Workshop Series Text Analysis Brush Up for Actors and Directors with Jeannette Lambermont-Morey March 27th from 2pm-6pm in-person at Studio House Barrie located at 4-347 Bayfield Street, Barrie Tickets: https://theatrebythebay.com/learn#workshop Theatre Lab April 4th 6-9pm, in-person, Five Points Theatre lower lobby Sign up: https://theatrebythebay.com/learn#lab Theatre Collingwood https://theatrecollingwood.ca Sign up for the waitlist for additional sessions of “Effective Storytelling” workshops for seniors, led by Scott Hurst. Call Anne at Theatre Collingwood at 705-445-2200 to be added to the list
Opportunities Theatre Aurora Audition call for Lonely Planet by Steven Dietz. For more info or to book an audition, contact productions@theatreaurora.com. Theatre Aurora is also forming a new committee to look at the membership and volunteer experience. If you'd like to be a part of the new committee, email info@theatreaurora.com Orangeville Music Theatre https://www.orangevillemusictheatre.com/auditions/ Looking to fill the role of Mr. Laurence for their production of Little Women. Anyone interested can email auditions@orangevillemusictheatre.com Theatre By the Bay Simcoe County Theatre Festival Theatre by the Bay is hosting the first ever Simcoe County Theatre Festival scheduled for sometime this June. Deadline for submissions of one-act scripts as well as director expressions of interest from directors is February 26. And once the plays have been selected, TBTB will begin accepting submissions from interested actors. https://theatrebythebay.com/festival TBTB workshop Composing Work with Mandy E. MacLean, on Sunday, February 27 from 2 until 6, happening in person at the Moving Art Centre in Barrie. The workshop will provide an opportunity to explore techniques to train your instincts, make strong theatrical decisions, and create new works. https://www.eventbrite.ca/e/tbtbs-professional-workshop-series-mandy-e-maclean-tickets-264342725207 Act On It With Dee Penetanguishine's Deanna Palazzo Dalziel, stage, film, and TV actor, is launching acting classes for kids for ten weeks starting the first week of March, at The Pulse Nutrition! Classes will go over all the basics of acting including Improv, For more information or questions, email actonitwithdee@gmail.com Theatre On the Ridge http://www.theatreontheridge.ca/news/creatives-in-residence-playwright-announced Theatre on the Ridge has just announced that Uju Umenyi has been chosen as their playwright-in-residence for 2022 to create the Story of Samuel Stout, an escaped slave who arrived in Scugog and lived a full life there. They're planning on presenting the play in September of this year. Productions Theatre Orangeville Things My Fore Sisters Saw by Leslie McCurdy runs Mar 3-13. More Confessions from the Ninth Concession written and starring Dan Needles and Ian Bell runs March 23 - April 10. You and I, a playfully-interactive show for babies ages 12 to 30 months March 26-27 https://www.theatreorangeville.ca/ South Simcoe Theatre Burn March 3-20. https://www.thesouthsimcoetheatre.com/ Mariposa Arts Theatre Presents Steel Magnolias at the Orillia Opera House April 21-30. https://secure1.tixhub.com/orillia-oh/online/b_otix.asp?cboPerformances=3345&cboEvent=1090&bmultiple=1&width=1519 Theatre Collingwood Elvira Kurt and the Girls Nite Out comedy troupe. Sunday, March 6th and Monday, March 7th https://theatrecollingwood.ca/ Moving Art Tickets for our Jr & Sr shows go on sale MARCH 1ST! April 23rd-May 1st, our Sr Triple Threat program presents: The 25th Annual Putnam County Spelling Bee! June 4th-12th, our Jr Triple Threat program presents: Seussical Jr.! https://movingart.ca/events/ Talk is Free Theatre Orlando Adapted by Sarah Ruhl, Based on the novel by Virginia Woolf, Created and performed by Merlin Simard and Raven John Spring 2022 Five Points Theatre, Barrie, 60 minutes https://www.tift.ca/shows/eternal-ego-festival
Adam Hunter Howard is a playwright, mentor, guest director and dean at Harvard-Westlake Upper School in North Hollywood, California. We have worked together as costars in our the first two full-length plays produced by Punk Monkey Productions, Steven Dietz' Private Eyes and The Maiden Prayer by Nicky Silver, whose poster can be seen in the background of Adam's shots.In this episode, we discuss working with young/beginning playwrights, structure, privilege, Aristotle's Poetics, success, joining the Playwright's Guild, practical effects versus implied effects and action, conflict and unveiling nuance through actors and layers. Based on the amount of material covered and our personal history, this may be my favorite and most entertaining episode thus far. I hope you enjoy it.To see the video format of this episode, please visit the link below -https://youtu.be/1phRfCeKuJ0For other websites mentioned in this episode, please visit the following links below -The Oneill's - https://www.theoneill.orgIAMA - https://www.iamatheatre.comDramatist's Guild - https://www.dramatistsguild.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightWriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show
Last week, the governor signed SB9 and SB10 into law. These bills will effectively end single family zoning in the state, with the goal of making it easier to build new homes in preexisting neighborhoods, near transit. A little-discussed impact of SB9 is that it helps homeowners finance new construction on their property without tying up the equity in their existing home. We're joined today by Steven Dietz of United Dwelling, an LA-based housing builder leading the Accessory Dwelling Unit (ADU) industry with the most rental units built in California. United Dwelling partners with homeowners to transform their garage or backyard space into a high-quality rental unit. Plus, as always, we tell you who had the Worst Week in California Politics. Show Notes: 1:05 What is an ADU? 2:39 The biggest challenge of building an ADU 3:53 Restrictions 6:04 What are minimum and maximum sizes? 8:26 How much did they cost? 12:00 Gentrification concerns 18:36 "I love a garage - I'd spend more time there than in my living room.." 23:32 Interest rates on an ADU? 26:55 How long does it take to build an ADU?? 29:29 The #WorstWeekCA Want to support the Capitol Weekly Podcast? Make your tax deductible donation here: capitolweekly.net/donations/ Capitol Weekly Podcast theme is "Pickin' My Way" by Eddie Lang "#WorstWeekCA" Beat provided by freebeats.io Produced by White Hot
Show Notes:Intro - On the Needles - Dami - ~NoneC.C. -~I'll have two coffees and two cherry danishes to go please Socks - I'll have two coffees and two cherry danishes to go please Socks by ME! on US1.5 (2.5mm), It's All About Ewe Fidalgo Sock in the Cherry Blossoms V 2.0 colourwayProject bag from Little Fish Stitches & Progress Keeper from Tilting PlanetFinished Projects - Dami - ~NoneC.C. -~FO! - 2021 Preemie Hat #10 on US6 (4mm), Berroco Vintage DK in the White, Cracked Pepper, & Blush colourwaysFlosstube - Begins at timestamp 5:55Dami - ~Rose bookmarkProject bag by Fat Cat CreatesNeedle Minder from SewHappyMailBristolSnipattie from cattycrosstitchesC.C. - ~Gilmore Girls Sampler by The Enablers Facebook GroupProject Bag from GaRon TottenbagsYummies (our current favourite things) - ~Knit Crate - Use the coupon code GEEKY20 to get 20% off of your first order! This code will only work to discount the first month of a recurring monthly subscription and any of our Shop items.~Pom Pom Quarterly No. 36 Spring 2021~Forbidden Fibers Gilmore Girls Cross Stitch Kit~Shirt from EnchantedWoodsCrafts~Crafty Photo A Day Challenge - #GGKCraftyPAD - details for March hereWhat We're Watching, Reading, + Listening To - Please be aware that we do discuss recent tv show episodes that have aired in the last week or so. This is your spoiler warning!Episode 435 Bookshop List~Lonely Planet by Steven Dietz - Dami is readingJanuary / February / March 2021 RAL - 15 minutes of reading daily challenge* 86-90 of 90 days - 1 or more giveaways for eBook, everyone gets $1.20 off any single pattern coupon code & 86+ days RAL virtual badge* 59-85 of 90 days - 1 or more giveaways for single pattern, everyone gets 59+ days RAL virtual badge* #GGKRAL21* #GGKRAL21~ January / February / March* 90 days - 10 entries* 86-89 - 8 entries* 59-85 - 5 entries~ April / May / June* 91 days - 10 entries* 87-90 - 8 entries* 60-86 - 5 entries~ July / August / September* 92 days - 10 entries* 88-91 days - 8 entries* 61-87 days - 5 entries~ October / November / December* 92 days - 10 entries* 88-91 days - 8 entries* 61-87 days - 5 entries~ Read All 365 days - 10 bonus entries~ Complete the Modern Mrs. Darcy 2021 Reading Challenge - 12 bonus entries [all or none] (we'll open a thread for you to post this in December 2021)~Harry Potter & the Order of the Phoenix (Harry Potter #5) - C.C. is rereading with Harry Potter & the Sacred Text podcast & Swish and Flick: An All Potter Podcast~Stormsong (The Kingston Cycle #2) by C.L. Polk - C.C. finished reading~Fire & Water (Kate Kane Paranormal Investigator #3) by Alexis Hall - C.C. is reading~WandaVision~Criminal Minds~Shark Tank~House Hunters~Law & Order: Special Victims Unit - finished watching Season 4 & watching Season 5 & episodes for That’s Messed Up: An SVU Podcast~Prodigal Son - watching Season 2~A Discovery of Witches - watching Season 2~Murdoch Mysteries - watching Season 14~NCIS - watching Season 18~The Masked Singer - watching Season 5~My Favourite Murder podcast~Cabin Pressure~Random Spotify PlaylistsDecember / January / February Winter Wonderland AL -*Prize Winners:Santa Claus Hoop Cross Stitch KitPandia's Jewels Hunger Games Stitch Marker SetAudine Wools by KnitCrate Shine Sport - 2 skeins of Sky - 2 winners will win 1 skeinUru.Yarn by KnitCrate Cotton Basic - 1 skein of PavementThe Shorter Things Collection by D. Marie Prokop, set of stitch markers, & bookmark*For any and all giveaways, prizes, competitions, ALs, etc. that we host, the winner(s) have 30 days from the date of announcement (the date the podcast episode in which the winner was announced goes live) to contact us to claim their prize or it will be forfeited. If this occurs, the prize will be used for another giveaway at our discretion. Thanks for understanding!March / April / May Sheepy Spring AL -*Runs from 1-March through 31-May*Details - any project you knit/crochet/weave/spin/stitch/sew that you can convince us relates to spring*No WIPS - Your project must be begun no earlier than 1-March and finished no later than 31-May*Each project that you knit/crochet/weave/spin must be at least 20yds/18.3m that you finish and post in the Facebook Group FO Thread counts as 1 entry into the giveaways. If your project is not at least 20yds/18.3m, you need to group it in a single post with other projects that together total at least 20yds/18.3m. For stitching/sewing projects, we’ll leave it to your best judgment. If you wanted our official ruling, PM email us at ggkcspodcast@gmail.com*Feel free to poly-dip in other ALs as long as it fits in with other rules*Please complete our Google form in order to help us make sure you are receiving a prize that you'll actually enjoy using.*Prizes: If you’d like to donate one, email us at ggkcspodcast@gmail.comAlpine Flowers Cross Stitch Kit from HillaryUru.Yarn by KnitCrate Chonky - 2 skeins of Petal - 2 winners will win 1 skeinAudine Wools by KnitCrate Sleek - 2 skeins of Unwind - 2 winners will win 1 skeinHoneyberry Studios Notebooks - 2 notebooks - 2 winners will win 1 notebook*Must be a member of the our Facebook group ~ GGKCS Podcast / FlossTube to participate*Social Media Hashtag: #GGKCSSpring21*Thread will be locked the morning of 1-June and winner(s) drawn on the next podcast following that*For any and all giveaways, prizes, competitions, ALs, etc. that we host, the winner(s) have 30 days from the date of announcement (the date the podcast episode in which the winner was announced goes live) to contact us to claim their prize or it will be forfeited. If this occurs, the prize will be used for another giveaway at our discretion. Thanks for understanding!*There is a Chatter Thread in our Facebook group so we can encourage each other along the way.Ask the Geeks - Originally asked/answered in 2017:Jenn asks:I really enjoy the updates on what you are reading and watching. How do you typically read? books, ebook or listen to audio? I have been trying to listen to audiobooks while I knit….two birds one stone thing, but I tend to get distracted compared to when I’m reading an actual book. Do either of you have a “schedule” , reading time each day, knitting time ??? Thank you for letting me obsess over your reading / knitting time.Misc. - ~The Black Needle Society VIP - Use the code JAVAPURL5 for a discount on your first box of box to box subscriptions (the 6 & 12 month boxes already have a discount built in; not valid on special edition boxes.~Support the Podcast, Become A Patron~Support the Podcast, Join us on YouTube~Each week, we create a list on Bookshop of all the books we talk about in that week's episode. Bookshop is an online bookstore with a mission to financially support local, independent bookstores. If you purchase a book from our list, we earn a commission & local, independent bookstores also earn money from your purchase.~Want another way to help support our podcast? Throughout our website, links to books, tv shows, movies, etc. are Amazon Affiliate Links. We receive a portion of what you spend when you click through our website to shop on Amazon. What we receive helps us with the costs associated with producing this podcast as well as with prizes & shipping for giveaways. Thanks in advance for your support!If you are in the UK, please click this link, Amazon.co.uk, or the banner below to shop:If you are in Canada, please click this link, Amazon.ca or the banner below to shop:~For any and all giveaways, prizes, competitions, ALs, etc. that we host, the winner(s) have 30 days from the date of announcement (the date the podcast episode in which the winner was announced goes live) to contact us to claim their prize or it will be forfeited. If this occurs, the prize will be used for another giveaway at our discretion. Thanks for understanding!Find Us Online -C.C. - (she/her)~ on Instagram as CC_JavaPurlDami - (they/them)~ on Instagram as damisdoodlesPink Purl - ~on Instagram as pinkiepurlJavaPurl Designs~ JavaPurl Designs websiteGGKCS -~ our Facebook group ~ GGKCS Podcast / FlossTube~ our Facebook page~ email us: ggkcspodcast@gmail.com~ on Apple Podcasts~ on YouTube~ Support the Podcast, Become a PatronUntil next time,
Steven Dietz is one of America's most prolific playwrights. This week on No Script, Jackson and Jacob discuss one of his only plays to make it to New York - "Lonely Planet." The play tells the story of two men during the height of the AIDS epidemic. Listen in as J&J examine the play's strange new context. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We’ll see you next week.
Monique Brandon is working together with legendary venture capitalist Steven Dietz to tackle California's affordable housing crisis. Her company United Dwelling facilitates the conversion of underutilized garages or backyards into attractive housing at an affordable price while also providing homeowners with extra income. She believes that the key to making this possible is to optimize operations and economies of scale to tackle one of the biggest issues facing California.
Monique Brandon is working together with legendary venture capitalist Steven Dietz to tackle California's affordable housing crisis. Her company United Dwelling facilitates the conversion of underutilized garages or backyards into attractive housing at an affordable price while also providing homeowners with extra income. She believes that the key to making this possible is to optimize operations and economies of scale to tackle one of the biggest issues facing California.
Mr. Steven Dietz, CEO of United Dwelling provides input from the private sector. We discuss the importance of innovation in housing.
If you live in Los Angeles you know it is expensive, and there’s a shortage of affordable housing. Today's guest is an investor and entrepreneur who co-founded Upfront Ventures, and of the 200+ startups his team funded, you may know some names -- Costco, Starbucks, Pet Smart, Ulta Beauty, Office Depot, just to name a few. But today, Steven Dietz leads an organization called United Dwelling, dedicated to tackling California's housing crisis by converting old garages and backyards into affordable rental homes to meet current housing needs. Podcast Producer: Oscar Flores (https://www.facebook.com/ofloresnews/) Theme Music: DJ Reaper STAY CONNECTED Christine on Facebook: https://www.facebook.com/ChristineDevineTVNewsAnchor Christine on Twitter: https://twitter.com/DevineNews Olympic & Bundy Facebook: https://www.facebook.com/olympicandbundy Olympic & Bundy Twitter: https://twitter.com/OlympicAndBundy Olympic & Bundy Instagram: https://www.instagram.com/olympicandbundy
In this episode of the OnStage Colorado podcast, host Alex Miller catches up with one of America's most produced -- and prolific -- playwrights, Steven Dietz. In a wide-ranging conversation, Dietz talks about everything from Elvis Costello to Anton Chekhov as well as his play 'Bloomsday,' now playing at the Boulder Ensemble Theatre Company. Also in this episode, BETC Producing Artistic Director Stephen Weitz talks about the theatre, the upcoming 15th season announcement, 'Bloomsday' and more.
Midday theater critic J. Wynn Rousuck joins Tom in the studio for another of her weekly reviews of the Maryland stage. Today, she tells us about Dracula, a haunting adaptation of Bram Stoker’s seminal 1897 vampire novel that opens Chesapeake Shakespeare Company's 2019 season. Adapted by Steven Dietz and directed in the CSC's ornate theater space by Gerald Alex Taylor, the play unfolds in a sanatorium, as a series of sinister events reveals the presence of the greatest vampire of all time. The cast includes Michael P. Sullivan, reprising his 2013 CSC performance as Dracula; Hannah Kelly as the Count's love interest, Mina Murray; and Scott Alan Small as Renfield, the asylum patient. Emily Lotz designed the sets, and Kristina Lambdin designed the costumes.Speaking of blood...On Thursday, October 17, from 1 to 6pm, Chesapeake Shakespeare Company will host Dracula’s Blood Drive, a community blood donation at the CSC acting studio in the heart of downtown, at 206 East Redwood Street, 4th Floor, Baltimore, MD 21202. It’s easy to make an appointment to donate: Visit redcrossblood.org and enter the blood drive password: SHAKESPEARE. Walk-ins are welcome.Lesley Malin, CSC's Managing Director, says all donors to Dracula’s Blood Drive will receive a voucher good for 20 percent off regular-priced tickets to Dracula, which continues at Chesapeake Shakespeare Company Theater, located at 7 S. Calvert Street (at Redwood Street), in Baltimore, MD 21202, through November 2, 2019.
Literary Manager (and fellow Iowa alumn) Jenni Page-White joins us on this episode to share her experiences as both a dramaturg and literary manager. This is a great episode for our listeners who are interested in dramaturgy and have been thinking about literary management as a profession! Jenni gives us some thoughtful insight into the world. We hope you'll enjoy it! Jenni Page-White is the literary manager at Actors Theatre of Louisville, where she curates and develops new work for the Humana Festival of New American Plays. Her dramaturgy credits at Actors Theatre include The Curious Incident of the Dog in the Night-Time and Angels in America (Parts One and Two), and the world premieres of We've Come to Believe, by Kara Lee Corthron, Emily Feldman, and Matthew Paul Olmos; Dave Harris's Everybody Black; Mara Nelson-Greenberg's Do You Feel Anger?; Susan Soon He Stanton's we, the invisibles ; Basil Kreimendahl's We're Gonna Be Okay; Tasha Gordon-Solmon's I Now Pronounce; Brendan Pelsue's Wellesley Girl; and Steven Dietz's This Random World. Prior to working at Actors Theatre, she was the literary associate at Steppenwolf Theatre Company, where she helped select and develop new plays for First Look and coordinated post-show discussion programming. As a freelance dramaturg, she has worked with WildWind Performance Lab, American Theater Company, Sideshow Theatre Company and LiveWire Chicago Theatre, and she has evaluated work for the National Endowment for the Arts, the Playwrights' Center, the O'Neill National Playwrights Conference, and The New Harmony Project. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies. She holds a B.F.A. from the University of Oklahoma and an M.F.A. from the University of Iowa. To learn more about Jenni and her work at Actors Theater of Louisville, visit the website: https://www.actorstheatre.org/bios/jenni-page-white/ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it on our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support
Literary Manager (and fellow Iowa alumn) Jenni Page-White joins us on this episode to share her experiences as both a dramaturg and literary manager. This is a great episode for our listeners who are interested in dramaturgy and have been thinking about literary management as a profession! Jenni gives us some thoughtful insight into the world. We hope you'll enjoy it! Jenni Page-White is the literary manager at Actors Theatre of Louisville, where she curates and develops new work for the Humana Festival of New American Plays. Her dramaturgy credits at Actors Theatre include The Curious Incident of the Dog in the Night-Time and Angels in America (Parts One and Two), and the world premieres of We’ve Come to Believe by Kara Lee Corthron, Emily Feldman, and Matthew Paul Olmos; Dave Harris’s Everybody Black; Mara Nelson-Greenberg’s Do You Feel Anger?; Susan Soon He Stanton’s we, the invisibles; Basil Kreimendahl’s We’re Gonna Be Okay; Tasha Gordon-Solmon’s I Now Pronounce; Brendan Pelsue’s Wellesley Girl; and Steven Dietz’s This Random World. Prior to working at Actors Theatre, she was the literary associate at Steppenwolf Theatre Company, where she helped select and develop new plays for First Look and coordinated post-show discussion programming. As a freelance dramaturg, she has worked with WildWind Performance Lab, American Theater Company, Sideshow Theatre Company, and LiveWire Chicago Theatre, and she has evaluated work for the National Endowment for the Arts, the Playwrights’ Center, the O’Neill National Playwrights Conference, and The New Harmony Project. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies. She holds a B.F.A. from the University of Oklahoma and an M.F.A. from the University of Iowa. To learn more about Jenni and her work at Actors Theater of Louisville, visit the website: https://www.actorstheatre.org/bios/jenni-page-white/ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it on our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com
The Second Story Project is the collaboration of two theater companies and two artistic directors. Starting in March 2019, The Great Beyond will premiere at Actor’s Theatre of Charlotte and The Ghost of Splinter Cove will premiere at Children’s Theatre of Charlotte. Steven Dietz wrote the two plays with intertwined stories that will run simultaneously. Both plays take place on a single evening on different floors of the same house and are connected by a mystery. While each play stands independently and you do not have to see both, audiences do gain special insights from seeing both shows.
A follow up to PodCast & Crew, All In Production's WAIP follows the skeleton crew of a failing radio station. Featuring skits, radio plays, and interviews with local artists. In Episode 001: All-Arcadians Episode 009 (By Adam Qutaishat and JD Atkins) The Best Cheesesteak in Door County (By Justin Spanbauer) Jobseekers (By Casey Van Dam) Promos for The Worsener (By Matthew D. Konkel) Packer Snackers (By Robby McGhee) An interview with Jake Brockman and Kyle Connor of Forge Theatre. Make sure to check out Becky's New Car by Steven Dietz, directed by Jake Brockman. Thursdays, Fridays, and Saturdays at 7:00 PM from November 1st-10th at Urban Harvest Brewing Co. in Milwaukee. To support this Podcast and All In Productions, donate here; gofundme.com/aip-season4 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Steven Dietz, veteran VC and current CEO of Level 4 Fleet Services, has been one of the leading investors in the automotive industry for well over a decade. Listen as Steven gives us a snapshot into the world of self-driving cars, sharing insights into the types of changes that could await our streets, communities, industries, and more.
Middle-aged angst takes center stage at the Sonoma Community Center as Becky’s New Car pulls into Sonoma Arts Live. Steven Dietz’s bittersweet comedy runs through June 25. Becky Foster has reached the “Is that all there is?” stage in her life. She’s got a job that overworks her, co-workers that don’t appreciate her and a grown, psychology-majoring son living in her basement. On the plus side, she has a loving, doting husband who’s willing to work roofing jobs hours away to keep his family in comfort. Becky seems destined to live her life out in quiet desperation when a gentleman walks into the car dealership at which she works. He’s wealthy, widowed and in a very short period of time, interested in Becky. Through a series of misunderstandings, he thinks Becky’s widowed too. Does she correct him, or will she see this as her way out? Well, good people sometimes make bad choices and Becky is soon looking for a way out of her way out. Lest you think this all sounds a bit bleak and/or depressing, fear not as it’s actually a pretty funny show. Director Carl Jordan has gathered a winning cast who find the humor in each character’s foibles and flaws while retaining their humanity. Melissa Claire does a great job in helping the audience understand why Becky makes the choices she does and gains their empathy. Dietz has the character “break the fourth wall” and directly interact with the audience throughout the show which can be awkward but Claire handles it with aplomb. Mike Pavone as Walter Flood makes for a charming gentleman suitor who stumbles upon Becky and maybe a way out of his funk at the loss of his wife. It’s easy to see why Becky could risk everything for him. Matt Witthaus does very well as the good-hearted husband Joe whose obliging manner turns a bit a dark by show’s end. Michael Temple does a good job as the basement-dwelling, pizza swilling Chris who pontificates on the psychological state of all and drives his mother nuts. Katie Kelly has some nice moments as Kenni Flood, Walter’s daughter, particularly when dealing with a potential gold-digging neighbor (a boozy and biting Serena Elize Flores). The show’s single funniest moment comes courtesy of Stephen Dietz (no relation to the playwright) as Becky’s co-worker Steve in a monologue that involves a mother, a child, a puppy, and a cliff. It’s not giving anything away to say that all these characters cross paths and while the specific circumstances strain credulity sometimes you just have to go with the flow. Claire’s and Pavone’s performances are the initial hooks that make you willing to go along for the ride. Set Designer Bruce Lackovic manages to fit four distinct settings onto the small Rotary Stage, with Becky scurrying between her living room, her office, her car, and Walter’s home. The backdrop is a series of lit, colorful spheres that double as projection screens. Combined it makes for a very eye-catching set. Becky’s New Car is a welcome respite from some of the darker, more mean-spirited plays that have been produced locally of late. It’s nice to see a lighter touch applied to the dramatization of the journeys we often take in life. Director Carl Jordan and cast have mapped out a pretty amusing outing. Consider jumping into Becky’s New Car and joining them for the ride. Becky’s New Car plays at the Sonoma Community Center Thursdays through Saturdays at 7:30pm and Sundays at 2pm through June 25. For more information, go to sonomaartslive.org
Welcome to episode nine of Stage Savvy: The Podcast, hosted by Angie Fiedler Sutton and Jen Morris.This show clocks in at a little over 30 minutes. This episode was our favorite playwrights: Steven Dietz for Jen, Christopher Durang for Angie. A very brief who they are, highlights of what they’ve written, and where you can go for more info. See show notes here.
Welcome to episode nine of Stage Savvy: The Podcast, hosted by Angie Fiedler Sutton and Jen Morris.This show clocks in at a little over 30 minutes. This episode was our favorite playwrights: Steven Dietz for Jen, Christopher Durang for Angie. A very brief who they are, highlights of what they’ve written, and where you can go for more info. See show notes here.
Lorenzo Lamas-Craig (born January 20, 1958) is an American actor. Lamas-Craig is known for playing Lance Cumson on the popular 1980s soap opera Falcon Crest, Reno Raines on the 1990s crime drama Renegade, and Hector Ramirez on the daytime soap opera The Bold and The Beautiful. Lamas appeared in reality television, served as a judge on ABC television's short-lived Are You Hot? and starred in his own reality show,Leave it to Lamas, a series about his real-life family.Early lifeLamas-Craig was born in Santa Monica, California, the son of Argentine actor Fernando Lamas and Norwegian-American actress Arlene Dahl. He is the stepson of swimming film star Esther Williams, who married his father when Lorenzo was 11 years old. Williams was also the best friend of Jane Wyman, who would later play along with Lamas-Craig on Falcon Crest. Lamas-Craig was brought up in Pacific Palisades, California, and moved to New York City in 1971, when he was 13 years old. He graduated from the Admiral Farragut Academy in Pine Beach, New Jersey, in 1975.Acting careerLonging to be an actor since the age of five, Lamas first studied acting in Tony Barr's Film Actors Workshop and quickly thereafter obtained his first TV acting role in 1976. He had a supporting role in the 1978 film Grease. Early in his career, he also had guest-starring parts in Switch, Sword of Justice, Dear Detective, Secrets of Midland Heights, Fantasy Island, The Love Boat and Hotel.In 1980, Lamas auditioned for and won the role of Jane Wyman's playboy grandson and henchman, Lance Cumson, for the pilot of a new series entitled The Vintage Years. The pilot was later retooled to become the hit prime time drama series Falcon Crest. During a 2006 TV interview with a Norwegian television team, Lamas said that to get the role on Falcon Crest, he had auditioned twice and beat out five other guys for the part. During his stint on Falcon Crest, Lamas was nominated for two Soap Opera Digest Awards and a Golden Globe Award. Lamas was the only actor to appear in all 227 episodes of the series. In an interview, Lamas said of Jane Wyman's persona into a hard-working legend, not a diva, who referred to her as a friendly woman on Falcon Crest: "With Jane, she expected you to know your lines, but she played poker with the crew at lunch. She was just a great gal; and I think that set the tone for the rest of us. She wasn't a 'spoiled diva,' and believe me, if anybody had a right to be a 'spoiled diva,' it was Jane because she has done so much, Oscar Award-winner, I mean, incredible actress, and she was just like clockwork, right there on time, always knew her lines, always ready to rehearse and she had this great affable quality. You just never talked about Ronald Reagan, that's all, that was one thing we never did, everything else was opened." At the beginning of the ninth and final season of Falcon Crest, off-camera, Lamas received some devastating news about his TV grandmother when she was sent to the hospital that he paid visit to see her to offer her some words of comfort.[1] After cancellation, he did not keep in touch with her for years, on September 10, 2007, he lost his TV grandmother and decades-long friend. Prior to Wyman's death, Lamas released a statement: "Next to my parents, Jane was the most influential person in my young career," he added, "She has left an incredible body of work and accomplishments that cannot go without being recognized and celebrated. I will miss her greatly."In 1984, Lamas was nominated for Worst Actor at the Golden Raspberry Awards for his performance in the film Body Rock. Lamas also performed a song on the soundtrack for this film, and the track "Fools Like Me" became his only single to date to crack theBillboard Hot 100 chart.In the early 90s, he began carving out a niche for himself as the next big action-hero, showing off his martial-arts skills and starring in such movies as the Snake Eater-trilogy, Terminal Justice, Gladiator Cop, Bounty Tracker, and many similar low-budget action-films, that unfortunately failed to reach a mainstream-audience.However, in 1992, Lamas played the role of the falsely accused cop Reno Raines in the syndicated series Renegade. The series was seen in over 100 countries,[citation needed] and during its final season, it moved from first-run syndication to the USA Network. The show ended in 1997 after a run of five seasons.From February 2004 until February 2007 Lamas played the role of Hector Ramirez on the CBS daytime soap opera The Bold and the Beautiful.In August 2007, Lamas starred as the King of Siam in The King and I at the Ogunquit Playhouse in Ogunquit, Maine. That fall, he performed at Kean University Premiere Stages in Union, New Jersey, in the title role in Steven Dietz's Dracula. Lamas performed as El Gallo in The Fantasticks at the Casa Mañana Theatre in Fort Worth, Texas, in June 2008. In June 2009, Lamas returned to the Ogunquit Playhouse as Zach in A Chorus Line.Lamas began appearing in the Zaxby's restaurant chain television advertisements in May 2008.In 2008, Lamas appeared in season 2 of CMT's Gone Country.In 2009, he starred in the Asylum's Mega Shark Versus Giant Octopus as Alan Baxter, a government agent who wants to destroy both the Mega Shark and the Giant Octopus to protect the world from their destructive fights.
Wesley: Hi, I’m Wesley.Robyne: and I’m Robyne.Wesley: and this is Obstructed View. Robyne: Today we’ll be discussing Dracula by Three Day Hangover. Dracula was presented at the McAlpine hall at West Park Church.Wesley: This performance was done immersively with a bar that was integrated into the performance.Robyne: If you don’t know the story of Dracula, we’ve linked a synopsis in the show notes. This piece by Steven Dietz and Lori Wolter Hudson is a liberal adaptation of Bram Stoker’s novel. Let’s jump right into design.Wesley: So we have scenic and lighting design by Christopher and Justin Swader, sound design by Toby Jaguar Algya, and costume design by Caitlin Cisek. Robyne: I really liked the costumes. I loved how they found ways in all of the design elements under what I assume to be a very low budget, to really honor the story and the period from which this story comes. I found the proffesor’s costume to be very well contemporized. I found both Mina and Lucy’s costumes to be fitting of their characters. And all of the men seem to be fairly well dressed. I only didn’t necessarily care for Renfield’s costume, but it worked within the story and the design. Wesley: I thought the costuming worked well for what they were achieeing here. My only point of issue was Dracula, I thought his was a bit more on the grotesque side, a bit too flamboyant, a bit too 1970s. And when you’re contemporizing almost all these characters, he came off a bit dated and that was something that I couldn’t just grasp why.Robyne: I found that in the greater style of the piece that it fit, that he was a little dated. It didn’t bother me too much but I totally understand what you’re saying. I did think that the teeth work was wonderful, those prosthetic teeth up close looked great. Wesley: Yeah, teeth were great. I enjoyed the make up work.Robyne: I also like what they did set wise with dressing the room as they did. I understand that they couldn’t build a full set but there were a lot of things I liked about it. As you said when we first walked in to the room, I really liked how there was only one portrait on the wall. I really liked how bare most of it was, it really helped with the foot traffic in the immersion.Wesley: I, on initial impact, I appreciated the space greatly. It was large, it was cavernous, I liked the scarcity of what they used. There was a bit of difficulty of deciding where we can and cannot sit, I noticed a few people stumbling around trying to find a place to find a seat. But there was nothing really that distracting. I appreciate how they had to work with the sparcity of the space, transporting us from one world to another during the performance, though I wish there was a bit more integration into the actual foundation of the space itself. I never felt as though I was brought into a world with the hall around me, I felt as though I was always dealing with specific set properties being brought out in front of me. That with how statically they had the audience stand for great swaths of the performance where seats could easily do.Robyne: The immersiveness lost it’s fun when the scenes started to run over five minutes; I found myself standing for large periods of time. And the worst part of this production for me was the other audience members. Given that this was an immersive, Bar Theater piece, I was fully prepared for a lot of the interactions I was going to have, but there seemed to be a lot of clueless audience members who kept backing into one another, there were a lot of spilled drinks, there were a lot of elbows, and a good deal of that was unnecessary. While there was a lot of guidance given by either the cast out of character or by other members of the production team herding us along in this small room, there still was a lack of clarity in what was habitable space and, I agree, we were standing for far too long without moving. We should have been able to sit at certain points.Wesley: I’ve been in immersive situations where you finally form a bond of community with the audience around you experiencing the piece. For example, when I saw Speakeasy Dollhouse at the Player’s Club or, probably one of my favorite of these, A Serious Banquet, by This is Not a Theater Company, I felt as though I made friends that evening, experiencing this theatrical production, being immersed in this world with them. Here everyone else seemed a little bit intrusive. And given how big the hall was, I really felt lost with them.Robyne: In this style you have a spectrum and on the one end you have something like A Serious Banquet which is a party that everyone is invited to, and on the other end you have Sleep No More, which is completely isolationist.5:00This fell somewhere in between without any real intention of how this piece is suppose to interact with the audience and how the audience is suppose to interact with each other. It felt as if no attention was paid as to what we were suppose to feel.Wesley: Granted, I don’t feel as thought the immersivity was suppose to be a gimmick, but it didn’t feel integral.Robyne: There were fun moments with the sound design and a lot of the practical, from-the-audience sounds. There was this howling bit they kept having us do that had a great deal of diminishing returns at the end. There was an expectation I felt that the audience was supposed to be much drunker than we were.Wesley: The interaction with us felt like a necessary evil on their part as if they had to follow through with the immersivitiy and so the scenic design of this world never really managed to put it into a framework in which the immersivity was a necessity to the story telling. Robyne: I did not feel that the immersiveness was used to transport us into this world and to make this interactive, to feel like we were involved in the world. I didn’t really know why we were being immersed in this. This may have just as easily been done in a proscenium and it may have worked far better.Wesley: Lighting design by Christopher and Just Swader as well, I had no real issue with.Robyne: The, again, clearly were limited on what they could do both financially and in the space. It worked fairly well. There’s a moment of audience interaction, that we’ll discuss later, using the lighting that was probably the highlight of the show. Overall, lighting was fine.Wesley: Yeah. They had a couple nice effects: the red that backlight Dracula when he entered, it had a nice 1980s Pop-film kind of vibe to it. We recognize this was a very limited budget production, and for what they were probably able to work with on that level this was excellently achieved.Robyne: Dracula is presented in this downtown, nerd, bar theater style that holds a certain amount of irreverence for the material, usually a great deal of irreverence for the material, and is filled with anachronisms. I have seen a great deal of this sort of theater and it is usually blunt and less funny than it thinks it is, and unfortunately I found that prevalent throughout Dracula.Wesley: There was a lot of joy in the performers getting a chance to perform but I felt no love for the characters, no love for the material –Robyne: There is a great deal of finesse required to pull off a show of this nature very well. A lot of the references felt very heavy handed, a lot of the modernization of the script felt blunt. There’s a number of times where they pull out their phones and the dialogue doesn’t sound like humans of today’s world discussing the use of technology. There was just some very rough moments of, I could almost feel the collaborators asking, “Well, how does this sound? This works.” With no smoothing out of the language.Wesley: The pop-culture references, they were so unnecessary. The anachronisms never gelled well. They felt like a style that was meant to feel novel but I have seen it so many times before that it just felt stale, and rather than making this show feel more timely, it just felt more dated.Robyne: There were a number of them that worked but they were just unfortunately buried beneath seven more that didn’t.Wesley: There were also many times that they would reference the bar, and drinking, and being drunk, which, it was funny before you’re legally able to drink. Like they’re the sort of thing that people would say in a college movie. Here, it as so self congratulatory and invaise. Robyne: It is a necessary part of the production, it is an intential design element and that can be a great deal of fun, but there is a fun, in-character way to discuss this and there is a forceful reminder that the ticket cost is low and you should be drinking and it’s part of the production. Which is totally fine but there is a way to convey that without swearing at your audience, which can be fun but in this instance absolutelywas not.Wesley: There was one instance I enjoyed and the was January Lavoy playing Yeungling. Her coming out as this sort of meta, product-placement character –Robyne: That anachronism, that contemporization, that kind of meta-theatrical element is what this entire style is built upon. And January was not only wonderful in that role, and I would almost say tongue-in-cheek, very self-aware, character,10:00but the renaming of Van Helsing, and having her constantly bringing that element of the drinking into it, having the audience partake in the drinking as part of the story telling, was wonderful. Having her offer beers as weapons was a great addition, was more of what I was hoping to see in this production. But the bruskness of having your characters remind the audience that the bar is open during intermission, the constant, “Time to take a shot!” felt like a younger, recent post graduate, theater company.Wesley: It felt like an app they were able to get for a cheap price but in order to be able to do anything with it you need to buy all the upgrades in it. It felt like we were being held hostage to this bar. Rather than it being a joyful part of this world we’re in, it felt like a necessary evil to appreciate this thing that I was entirely unable to appreciate on any level of sobriety. That’s not to say that the performers were drowned by the piece.Robyne: January Lavoy’s Professor was wonderful, was just the embodiment of how great this style can work. I also really enjoyed Nemuna Ceesay’s Mina, it felt like a wonderful modernization of this character, holding kick-ass American feminist ideals while also still honoring the source material. I thought Miranda Noelle Wilson Lucy and Jonathan Finnegan’s Seward were both great and I loved their relationship. A lot of the modernization and meta aspects of their relationship, the constant back and forth about what level their relationship was, whether they were lovers or friends, I thought worked very well most of the time. Justin Yorio’s Harker felt slightly out of place, he was much more serious than the rest of the cast, as Harker is but it just, it just didn’t sit quite right in the irreverent, meta-style. Paul Kite’s Renfield, while I don’t like the character he portrayed, that rapid lunatic, in the stereotypical pop-culture sense, I felt he portrayed that role very well.Wesley: The rule of diminishing returns with almost every aspects of this production for me grated especially Paul Kite as Renfield. I could always appreciate his commitment and his capabilities but by the end, what was once charming became intolerable. Jokes were hammered and hammered and hammered and almost none of them became funny again.Robyne: Again I felt the audience was expected to be much drunker and louder than we were. It wasn’t clear whether the production was suppose to take place in a loud, noisy, drunken bar, ad the actors were supposed to be fighting over the audience to be heard. That wasn’t the case, we were paying very close attention. So the often repetitive text became blows, over and over. We only needed to hear that the floor was lava once for Renfield, which is a shame because the man was literally standing up on a piano and that is a great image, seeing that, and the idea of his childishness played in that way, was really great for me. And then it just got repeated and it was so unnecessary. All the repition was so unnecessary.Wesley: As I said when we left, I was never the audience for this production. The drama was meant to be an aspect of their performance but not an essential part of its success. I didn’t find anything besides the drama to take my attention and because of that I felt so apathetic to their performance. Their commitment to these characters, their commitment to their performances was fantastic. Whether it was the improvisational extremes from Paul Kite or if it’s the more reserved Justin Yorio, I could appreciate that they each brought an aspect of their craft to their performance. But in terms of the actual telling of the story, there was little I could grasp on to. And there was so little novelty in humor or in storytelling for me to have a good night with.Robyne: I felt that this production really suffered from something I see a lot which is the lack of a strong, critical producer. Somebody who has a greater sense of the show in mind who can also level some of their experience and economy towards the work itself, the language, the humor, the staging.15:00Every moment a well utilized, talented producer who the company trusts, can really bring that out, or a co-director, or an assistant director, just somebody to offer a contrary voice to not allow so much of this to run off the tracks.Wesley: A lot of this story was unnecessary, a lot of this dialogue could have been easily noticed to not gain a response in terms of humor and gotten rid of and would have given us more time to be immersed in the space they were creating.Robyne: There was also only one level of humor, they only offered us low-brow and a great deal of low-brow humor. There wasn’t a mixed bag, there wasn’t high-brow humor coming from Dracula and low brow humor coming from Renfield, which I felt was a shame because that would have been a wonderful balance.Wesley: There was no character delivered with a real wit to them. They were all given to us as either satirical images of their characterization or satire of storytelling. They were never in themselves clever characters.Robyne: or simply characters given witty dialogue.Wesley: Granted, I cannot say I’ve seen a Three Day Hangover performance before, though I will say here I don’t feel as though I saw any aspect of Dracula that night and I was hoping I would. I was hoping I would get a sense of the portrait of Bram Stoker involved in this. I feel as though that portrait would have been rolling its eyes and at best smirking.Robyne: There were moments in this production that could have lended themselves wonderfully to very meta performance structure, where the one portrait of Bram Stroker is involved. There were moments where they could have broken the style and really gone for actual horror. When you are standing in that room full of people in the dark and you feel people moving around you, there are all the elements you need for some true horror. But we never got that, it was always the same one note, and it went on relentlessly and for too long.Wesley: You read Dracula a while back and I asked you when it was done, “Does Dracula have a sincere sense of mystery and sexuality to it?” and you said you think it does.Robyne: Right. So something I really loved about the first act of this production was there seemed to be a very clever adaption of the sexual commentary from Dracula, which, in its time, in its place, was a very risqué novel to come out. The description if the encounters, the very sexual nature of Dracula’s existence, his appearance, was initially well handled and seemed to just vanish into this myriad anachronistic reverential material.Wesley: When they did attempt sexuality it came off like the lovers in Midsummer. It didn’t come off as people with actual sex drives. They might have been going for the cloistered sense of the Victorian but I found nothing about their existence to be grounded in actual sexuality. Every aspect of it felt like characterization. Which just brings me back to why do Dracula? Why do this piece if you’re not going to commit to any aspect of the source material? The story itself isn’t enough, there needs to be some aspect of Dracula you find enticing to put on stage. And it wasn’t the mystery, it wasn’t the sexuality, it wasn’t the politics, and it wasn’t any aspect of the death. It was on a Scary Movie level, “Hey, here’s a thing. Let’s make fun of it.”Robyne: It almost felt as if it was a Mystery Science Theater or a Rifftrax version of a new Hollywood adaption of Dracula. I felt as if I was sitting around watching that episode with kids from high school who I didn’t really like.Wesley: The audience was not the best.Robyne: As an audience member I didn’t know exactly what I was being invited to, which is a huge aspect of these immersive bordering on interactive pieces. There was a lot of fun that we were invited for. When Dracula first comes out, when Michael Borelli first comes out as Dracula, and he has a marker and he “bites” peoples necks, that was fun, and went on just long enough. And Borelli had that playful, very self aware, I almost want to say folksy Dracula, that “TRANSYLVANIA” thing going, which felt completely inaccurate but funny because of its inaccuracy and worked within the world. But was not on the same level as January Lavoy’s Professor pulling out Yeunglings and shooting them off, that is a different level of fun. 20:00Wesley: And an aspect of this performance was their self-referentialness, which I always found more fun if this was improv. A lot of the jokes they’re making, a lot of the things that were happening came off as though this would be great in the spontaneity of improv. But knowing that this was scripted, practiced, and rehearsed in that space, I’m not sure for how long but for any amount of time, it came off as gimmicky and patronizing to me.Robyne: yeah, it was, again, all one note. And that’s fine for a style but you have to be aware that you’re going to alienate a great number of your audience. And unfortunately I was a both a person who loves this style but also a person who was put off by this piece. There was an absolutely wonderful moment in this production.Wesley: Yes there was.Robyne: Which, spoilers, once Lucy has been turned by Dracula and the rest of the company is there to end her second life, they kill the lights and they ask us to turn on the flashlights on our phones to act as the sun. Then there is a second moment of Seward and Lucy singing Total Eclipse of the Heart, which was this wonderful, bizarre, anachronistic, hyper-meta theater style choice that absolute perfection.Wesley: It was hilarious because it was still good craftsmanship. It said something about the characters it said something about their situation, it said something about the world we were in, and it was smart too. The idea that they would be singing Total Eclipse of the Heart, to a vampire was hilarious. And I adored Miranda Noelle Wilson in that role. If this show ended in that scene this review would be going very differently right now because that scene was hilarious and heartfelt and beautiful and it came off with love of the source material.Robyne: And the moment right before that, was a great choice, where she comes through the doors, covered in blood all over her white dress, singing Come Little Children, the song from Hocus Pocus that Sarah Jessica Parker sings coming to steal the children, and it almost felt like this was going to be a commentary on darkness and vampires and those moments were wonderful in that sense. But the ending just kind of happened.Wesley: Not only did it just happen, it just happened for a very long time. The coda after the actual climax of Lucy’s death took forev-Robyne: Dragged. It dragged. And I really wish we had not seen the death of Dracula. This very easily could have been forty minutes shorter. You cut at the end of that and you finish not knowing where Dracula is. You don’t tell the whole sotry and you leave – If you are ending with that monologue about ‘once darkness is introduced, despite the fact you know it isn’t real, it will always haunt you’, because society is obsessed with vampires, that would have been a wonderful place to leave off, with that monster still out there. But it jus- it was so long.Wesley: And then were dealing with, honestly, less interesting, more grounded characters that don’t compel us in the same way that these two did simply because these two, their characters, more match the style for which they are portraying. A lot of the style I don’t like because it’s what I call ‘Fun as Aesthetic’, we’re showing you fun instead of actually having fun ourselves or making sure you have fun, we’re forcing this sense of fun upon you without actually committing to creating it in the world. But there, in that death of Lucy, it was all there for us.Robyne: We were involved, it was a great reference, it was a great concept, the acting was wonderful in that moment, the whole, everything came together, every element of this production was there.Wesley: And it almost makes me more angry because is shows you what the rest of this production could have been.Robyne: Right. And at that point, after that, you’re dealing with an audience that’s been standing, not walking around and moving but standing, for two hours, that’s sobering up and those things all combine to drag out.Wesley: All those things combine to make this ending that much less engaging.Robyne: So then I guess the question is, Wesley, is Dracula worth the $15 ticket?Wesley: No. Because it’s not just the $15 ticket but the amount of drinks you’d have to get from the bar to make this experience successful.Robyne: I would argue that this is a very specific style and if that is your cup of tea, then it is absolutely worth the $15 ticket. It is fun, irreverent, nerd, bar theater, and as long as you are not going in for a reverent retelling of Dracula you can have a lot of fun at this production.Robyne: As always, you can find us at Obstructed-View.com, on facebook at facebook.com/ObstructedViewPodcast, on twitter @Obstructed_View, on soundcloud at soundcloud.com/obstructedview, or email us at TheObstructedViewPodcast@gmail.com.Wesley: I’m Wesley.Robyne: And RobyneWesley: And remember,Robyne: Blood will have blood.
Bob Wilcox and Gerry Kowarsky review (1) OR,, by Liz Duffy Adams, at Slightly Askew Theatre Ensemble, (2) THE NINA VARIATIONS, by Steven Dietz, at Flying Blind, (3) BIG LOVE, by Charles Mee, at the Webster Univ. Conservatory, (4) ANY NUMBER CAN DIE, by Fred Carmichael, at KTK Productions, (5) RUMORS, by Neil Simon, at Saint Louis Univ., (6) BLUES FOR MR. CHARLIE, by James Baldwin, at Washington Univ., (7) THE TEMPEST, by William Shakespeare, at Univ. of Missouri-St. Louis, (8) MILLION DOLLAR QUARTET, by Floyd Mutrux, Colin Escott, et al., at the Fox Theatre.
Gerry Kowarsky and guest host Mark Bretz review (1) 4000 MILES, by Amy Herzog, at the Repertory Theatre of St. Louis, (2) THE PIANO LESSON, by August Wilson, at the Black Rep, (3) CAFE CHANSON, created by Ken Page, at Upstream Theater, (4) THE GOAT, OR WHO IS SYLVIA?, by Edward Albee, at St. Louis Actors' Studio, (5) JACKIE AND ME, by Steven Dietz, at Metro Theater Co., (6) THE LAST ROMANCE, by Joe DePietro, at the Kirkwood Theatre Guild, (7) CAPRICCIO, at Circus Harmony, (8) An Evening of PredicamentS, by Gerry Mandel & Patrick Conroy, at First Run Theatre, and (9) STAGE FRIGHT, by Charles Marowitz, at the Theatre Guild of Webster Groves.
Sterling and Stroili vent about irresponsible parents and child care. Michelle Danner, Entrepreneur and Artistic Director for the Edgemar Center for the Arts and Edgemar Theatre Group in Santa Monica, CA is interviewed about the company’s new production of Henrik Ibsen’s classic Ghosts. The Live Arts Calendar highlights LA Opera’s production of Albert Herring at the Dorothy Chandler Pavilion in the Los Angeles Music Center. Sterling’s reviews Bernadette Peters in Concert at the Valley Performing Arts Center on the campus of Cal State University at Northridge. Artistic Director Greg Shane not only discusses his involvement with CRE Outreach and the organization’s Theatre by The Blind arts program, but its current offering of the Steven Dietz comedy/drama Private Eyes. Danner and Shane share embarrassing moments during performance. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)
Television stars Denise Crosby (Trekkies 1 and 2; Star Trek: The Next Generation, Key West) and Jamie Rose (Falcon Crest, Lady Blue) join Sterling and Stroili for a rousing conversation about cell phones and driving; and mistaken celebrity identities. Crosby and Rose are interviewed about their personal and professional lives; and their co-starring roles in the world premiere of Kari Floren???s Revisting Wildfire at the Odyssey Theatre in west Los Angeles. Steven Dietz???s contemporary masterpiece Fiction at The Underground Theatre in Hollywood, highlights the Live Arts Calendar. Sterling reviews Kritzerland at the Gardenia ??? An Evening of Kander and Ebb; the west coast premieres of Twist the Musical at the Pasadena Playhouse in Pasadena, CA and Shrek at Hollywood???s Pantages Theatre are promoted. Stroili reviews 1776 the musical at the Glendale Centre Theatre in Glendale, CA; Crosby and Rose share their most embarrassing moments on stage. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)
Bob Wilcox and Gerry Kowarsky review (1) A CHORUS LINE, by Marvin Hamlisch, Edward Kleban, James Kirkwood & Nicholas Dante, at Stages St. Louis, (2) THE IMMIGRANT, by Mark Harelik, at the New Jewish Theatre, (3) PELLEAS AND MELISANDE, by Claude Debussy, at Opera Theatre of St. Louis, (4) JUST DESSERTS, by Neil LaBute, at St. Louis Actors' Studio, (5) VAGABOND ADVENTURES, at Circus Flora, (6) KIND SIR, by Norman Krasna, at ACT Inc., (7) THE VISIT, by Friedrich Duerrenmatt, at Stray Dog Theatre, (8) BARE, by Damon Intrabartolo & Jon Hartmere, at New Line Theatre, and (9) BECKY'S NEW CAR, by Steven Dietz, at Insight Theatre Co.
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